Motion shots have always been a great way to emphasize the speed of a vehicle. It allows the viewer to use their imagination to picture the vehicle in action; and this is what makes these motion images so critical amongst automotive photographers. There are many ways to create these shots but in the end it boils down to the photographer’s preference.

So I get this question a lot, "What do you bring to a photoshoot?" While there is no real catch all answer for that since every shoot is different and I'll need different gear depending on what I'm shooting, I have narrowed my gear down to what I bring on EVERY shoot. I have two Pelican cases built for traveling and when I need extra or specialized gear I just add it, but these two cases get me through just about any situation.

After a long flight from Romania, I arrived at the 83rd edition Geneva Motor Show in Switzerland, where I had the pleasant surprise of viewing an entire show based on supercars instead of green-technology from years past. This show felt like a return to the roots where the cars were made to please the soul and not the body.

At the end of 2012 I was commissioned to shoot a Falken Tire advertisement involving forty-five Honda Tuner cars organized in a massive group photo. The final ad would be printed on the backside of Honda-Tuning magazine and shown for the entire year of 2013. The original concept involved shooting from a helicopter to achieve an aerial perspective of the ground with the group of cars laid out in the shape of an "F" for the Falken Tire logo. Due to time constraints, it was decided to forego that idea and find an alternative.

This image of a Lexus LFA driving along the coast in Big Sur, CA was shot at the beginning of the year. The kicker here is that I didn't shoot the car at that particular location at all. What I am about to show you goes against the photographer's code and I may be banned from the...... Nah I'm only joking. Image compositing is not a new technique and has been around for years. The trick with image composites is piecing the images together seemlessly so it does not look forced. Perspective, angle, lighting, and composition all play a major role here.

There is something unique and personal in a car to car motion shot that tends to give the viewer a raw look into the subject. Rolling shots, aka car-to-car motion photos, are seemingly a thing of the past now, often the last resort in capturing cars in action when in reality it could be the best option available.

I recently made the jump; the jump to digital medium format, and more precisely Hasselblad. I sold my Canon 5D Mark II and series of L lenses and am now the proud owner of a second hand Hasselblad H3DII-31 with roughly 7k actuations. Having spent personal time with the Hasselblad system now, I thought I’d do a small write up on why I made the full switch and ditched my DSLR.